Wednesday, March 25, 2015

Anyo by Blic

Anyo, Tagalog for appearance, is a unique
portrait of urban stories narrated with an inimitable visual language and icon.
Blic’s icon- the hand- depicts life and the belief that every life is a story
yearning to be told underpins Anyo’s message. By blurring the boundaries
between real and imagined as well as perception and perceived, Anyo invites us
to identify with a remarkable twenty-first century selfie. Blic’s second
gallery exhibit is a significant milestone in a journey borne out of near
paralysis and despair. He is a self-taught artist who, like Basquiat and
perhaps all other artists, does not think of art when he is painting-but tries
to think about life. And he likes to paint on streets. Blic’s inspiration
appears varied and bewildering- growing up anxieties, the mundane struggles of
life in a “megapolis”, an overgrown playground, a gummy-bear, furry animals or
a strawberry smoothie? Regardless, the artworks depict near perfect geometry
with attention to height, width and depth. The many forms do not ignore the
proportions of skeletal structure- still or moving. As the eye in Anyo#7, with
careful mix of color, the artist masterfully adheres to the rigors of light and
shade. Anyo unapologetically violates conventions of specific genres. Blic has
confidently placed on canvas his vivid imagination and style- demonstrating his
maturity as an artist. He has charted his own course and shown that- in
Picasso’s words- “If you imagine it, it is real”. To some, at first glimpse,
Anyo may appear an eyesore- unworthy of a second glance. Yet Anyo asks the
viewer to look again. The artworks challenge the limits of perception as it
pushes us to see ourselves and others in the everyday- at a particular place or
time. Anyo encourages us to shift our gaze away from the billboards and the
handhelds. The blank areas on the canvas are for the viewer to fill in.

Anyo disrupts our self-perception and
judgment. Perhaps Anyo#1 says “Shit Happens”. However, by asking the viewer to
interpret, Blic says “Shit” does not matter- you do. Anyo uncompromisingly
peels away the layers of character and masks- is Anyo#2 a Filipina beauty or
lustful lover? And paradoxically, whilst jarring our conscience, Anyo provides
an escape from life’s stark realities. Anyo helps understand better the process
of creativity as a biological tendency and as a release from inner demons. In
doing so, the artworks are not out of place anywhere. Anyo#4 – typhoon or Pasig
bathers?- may belong in a child’s bedroom, in a gallery and on the streets.
Like graffiti, the artworks do not beg for legitimacy and inclusion- the viewer
may find Anyo#6 beneath the sign ‘BAWAL UMIHI DITO’, buffered subsequently by
Barangay officials and the ‘vandals’ reprimanded. With Anyo, Blic presents a
splashing, clanging, banging, groaning, screeching, thump-thumping, thud-thudding
and sometimes silent visual ode to Manila’s inhabitants. Reminding us that
they- not the neon, glass, concrete, metal and spaces- are its soul.